• Journal of the Korean Home Economics Association
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• v.46 no.10
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• pp.37-48
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• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• Korean Journal of Human Ecology
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• v.22 no.2
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• pp.315-328
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• 2013

The purpose of this study was to analyze on the aesthetic collaboration appeared on the modernism arts and Haute Couture designers in the 20th century as the necessity of analyzing on the pure meaning of collaboration which is a talking point associated with culture of the 21st century. The study was performed by means of documentary method. The results are as follows; First, it was analyzed that the collaboration in the pure meaning of the first half of the 20th century had partial common points which was stated as Art Inspiration in the arts collaboration out of the 21st century collaboration. Secondly, the Haute Couture designers(Paul Poiret, Gabriell Chanel, Madeleine Vionnet and Elsa Schiaparelli) have common point that they involved into the artworking through active exchange with many artists from diversified fields in the 20th century. Especially, the characteristics of the collaboration in the forms, materials and color of their works were appeared visually. When the collaboration in the first half of 20th century was regarded entirely as mental matter of manifestation of pure aesthetics, in can be said that the big difference was mostly the maximization of mutual interest between collaborator and collaboratee in the 21st century collaboration.

• Journal of Fashion Business
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• v.1 no.4
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• pp.19-33
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• 1997

This study will analyze Karl Largerfeld's design of Chanel to suggest the designer's strategy succeeding haute couture. His significant stylistic interests include the revealed structure of the garment, the modifications between fine art and fashion, the combination of the traditional restraint of the couture with the flourishes of the wildest street fashions and effects that turn garments upsides down or insides out. The House of Chanel today recognizes that commercial success ultimately lies in re-working Chanel's signature designs in a modern idiom. That the essence of theses designs remains so desirable is due to Karl Lagerfeld's successful interpretation and is ultimately an accolade to the founder-Gabrielle Chanel. During the reign of Coco it would have been difficult for any woman who wanted to look young and modern to go wrong with her fashions. The same can be said of Karl Lagerfeld for Chanel today. Clothes with the Chanel imprimatur no doubt will remain just as fashionable into the twenty-first century.